Today we worked on a series of improv exercises dealing with playing opposites. Whether you were able to participate in an actual scene or not, discuss how being forced to play the opposite of yourself or someone else (either emotionally or otherwise) allows you to develop the skill of CREATING CHARACTER.
Your answer should be SPECIFIC. Generalized comments will not get full credit. Take the time to be thoughtful, as character is a cornerstone of the acting craft.
Monday, October 29, 2012
Tuesday, October 9, 2012
CLOWNS!
Clown Skit Reflection
Please take a moment to reflect on your clown skit experiencing. You shared stories with your group, then devised a clown plot for your skit, rehearsed it, and then performed.
Answer ALL of the following questions:
1. Was there anything confusing or difficult about the INSTRUCTIONS?
2. Other than filling the 5 minute requirement or choosing a story, what did you find challenging about this assignment? Explain in DETAIL! Why? How?
3. What was your favorite part about the clown skit? Explain in DETAIL what you enjoyed! Why? How?
4. What grade would you give yourself? Explain why you think you earned that grade?
Please take a moment to reflect on your clown skit experiencing. You shared stories with your group, then devised a clown plot for your skit, rehearsed it, and then performed.
Answer ALL of the following questions:
1. Was there anything confusing or difficult about the INSTRUCTIONS?
2. Other than filling the 5 minute requirement or choosing a story, what did you find challenging about this assignment? Explain in DETAIL! Why? How?
3. What was your favorite part about the clown skit? Explain in DETAIL what you enjoyed! Why? How?
4. What grade would you give yourself? Explain why you think you earned that grade?
Thursday, September 13, 2012
Thursday, September 13, 2012
Welcome to the blog, Fall 2012 Drama I!
As I mentioned in class, you should make every effort to keep your information on here limited - no last names, and no identifying information.
You should be able to reply to a post without having to sign in (choose the "anonymous" feature), but be sure to include your name at the beginning or end of the reply.
All blog replies should be in complete sentences and should demonstrate your ability to write clearly and thoughtfully. This is a great place to work on your skills of analysis, evaluation, and communication, as well as a place for you to apply new knowledge.
And now for your first assignment!
After reviewing the National Standards for Theatre Education, explain one skill that you wish to work on and explain why. Describe at least two activities that might help you develop that skill, and explain why those activities would be helpful.
As I mentioned in class, you should make every effort to keep your information on here limited - no last names, and no identifying information.
You should be able to reply to a post without having to sign in (choose the "anonymous" feature), but be sure to include your name at the beginning or end of the reply.
All blog replies should be in complete sentences and should demonstrate your ability to write clearly and thoughtfully. This is a great place to work on your skills of analysis, evaluation, and communication, as well as a place for you to apply new knowledge.
And now for your first assignment!
After reviewing the National Standards for Theatre Education, explain one skill that you wish to work on and explain why. Describe at least two activities that might help you develop that skill, and explain why those activities would be helpful.
Tuesday, March 20, 2012
Monologues Two Ways
Long lost blog greetings to you, and welcome to those who are new!
Between now and Wednesday, April 4th, I would like you to do the following (read through instructions before doing - it's like following a recipe):
1. When you have a block of 20 minutes, sit down and watch your two monologues. Watch each one AT LEAST twice.
On the second viewing, be sure and write down any tactics you think you see yourself executing (don't go back to your GOTA sheet - this will work better if you view it without refreshing your memory).
2. Respond to the following prompts by commenting to this post. REMEMBER NOT TO USE YOUR LAST NAME!! You should take about 5 minutes to consider each prompt, and about 5 minutes to write your response. PLEASE PROOFREAD and EDIT!!
a. Briefly describe what tactics you think you executed in each monologue, compared to how many you may have actually set out on your GOTA.
b. Do you think your monologues were substantially different? Why or why not?
c. (Take a little longer on this one . . . and be honest - I assess on honesty, not on "right" answers.) What are some steps you could take to improve your execution of tactics? What steps would you take in the future to keep from getting caught in a "rut" of how you perform a monologue?
Between now and Wednesday, April 4th, I would like you to do the following (read through instructions before doing - it's like following a recipe):
1. When you have a block of 20 minutes, sit down and watch your two monologues. Watch each one AT LEAST twice.
On the second viewing, be sure and write down any tactics you think you see yourself executing (don't go back to your GOTA sheet - this will work better if you view it without refreshing your memory).
2. Respond to the following prompts by commenting to this post. REMEMBER NOT TO USE YOUR LAST NAME!! You should take about 5 minutes to consider each prompt, and about 5 minutes to write your response. PLEASE PROOFREAD and EDIT!!
a. Briefly describe what tactics you think you executed in each monologue, compared to how many you may have actually set out on your GOTA.
b. Do you think your monologues were substantially different? Why or why not?
c. (Take a little longer on this one . . . and be honest - I assess on honesty, not on "right" answers.) What are some steps you could take to improve your execution of tactics? What steps would you take in the future to keep from getting caught in a "rut" of how you perform a monologue?
Friday, November 18, 2011
Thunderous - Hagen Wrap Up 11/18
I'd like each one of you to write down which three Hagen exercises you used for your scene. You don't have to go into detail about how you did the exercise - just a brief description.
Where I WOULD like you to go into detail is in discussing:
1. How you anticipated or thought each exercise would affect your scene/work; and
2. How each exercise actually DID affect your scene/work.
Last but not least, reflect upon your performance and whether or not you were able to be truthful under imaginary circumstances during the performance (not during rehearsals). If so, try to describe what that means to you and how it felt. If not, what do you think made it difficult to do so?
Thanks for your hard work and for performing in front of Drama I. I can't wait to see how these scenes look after the Meisner unit!
Where I WOULD like you to go into detail is in discussing:
1. How you anticipated or thought each exercise would affect your scene/work; and
2. How each exercise actually DID affect your scene/work.
Last but not least, reflect upon your performance and whether or not you were able to be truthful under imaginary circumstances during the performance (not during rehearsals). If so, try to describe what that means to you and how it felt. If not, what do you think made it difficult to do so?
Thanks for your hard work and for performing in front of Drama I. I can't wait to see how these scenes look after the Meisner unit!
Tuesday, October 18, 2011
THUNDEROUS - Fourth Wall
1. Provide some thoughtful reflection on how this exercise might be useful to you in future performances. Do you have trouble with audience awareness? Explore a time (or times) in performance when the audience intruded into your work - and remember, that includes anytime you were not in the moment, i.e., you started worrying about whether you were doing something right, what your line was, etc. How would regularly using this exercise help?
2. Going beyond the issues of audience awareness, what are some reasons to use this exercise anyway? What other possible skills might it develop?
RESPONSES DUE BY 9 A.M., SATURDAY 10/22.
2. Going beyond the issues of audience awareness, what are some reasons to use this exercise anyway? What other possible skills might it develop?
RESPONSES DUE BY 9 A.M., SATURDAY 10/22.
DRAMA I - Tues, 10/18 - Sensory Improv Exercises
Now that you've spent some time developing your sensory abilities on stage, I'd like you to discuss how each of the following exercises will help you when you improvise a scene (Yes - discuss all six exercises!):
1. Mirror exercise;
2. Taste and smell;
3. Three changes;
4. Tug of war;
5. Ball; and
6. Conversation with involvement.
Be sure to describe and explore what you did in each exercise that really helped you develop helpful skills, as well as anything you discovered that maybe surprised you or confused you. If you had trouble with any of these exercises, discuss that as well. You can also explore how these exercises might relate to the rules of improv that you were given.
REMEMBER: The depth of your reflection is more important than thinking about what answer I'm looking for - there is no "right" answer!
ANSWERS DUE BY SATURDAY, 10/22, 9 A.M.
1. Mirror exercise;
2. Taste and smell;
3. Three changes;
4. Tug of war;
5. Ball; and
6. Conversation with involvement.
Be sure to describe and explore what you did in each exercise that really helped you develop helpful skills, as well as anything you discovered that maybe surprised you or confused you. If you had trouble with any of these exercises, discuss that as well. You can also explore how these exercises might relate to the rules of improv that you were given.
REMEMBER: The depth of your reflection is more important than thinking about what answer I'm looking for - there is no "right" answer!
ANSWERS DUE BY SATURDAY, 10/22, 9 A.M.
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